Raw, surreal, addicted, tender—words that describe more than just what Daniel Craig’s character felt after a night with Drew Starkey. They’re also the only way to sum up the Queer Letterboxd reviews.

It's Guadagnino's most intoxicating, feverish and unrelenting study of longing, obsession, and emotional decay. Daniel Craig delivers a brittle, deeply felt performance as Lee, an American expat unraveling in the humid, neon-lit underbelly of post-war Mexico City. With a fixation on the enigmatic Eugene Allerton (Drew Starkey) consuming him with an almost narcotic intensity. The story is depicted through pulses with a hypnotic rhythm, where the camera movements languid yet precise, its staccato editing heightens the feverish tension of desire unreturned. An aching vacancy lingers, a void reflective of Burroughs’ own life, yet Guadagnino punctuates the despair with moments of staggering beauty, none more haunting than a near-mystical encounter in the jungle on Ayahuasca, where time seems to dissolve and bodies morph as one. Where the standout scene was one of a divine blowjob, paired with Trent Reznor and Atticus Ross’ (who also did Challengers) score deepened the iconic theme in the film: come as you are.

And beyond Craig and Starkey, Jason Schwartzman was gorgeously quippy and Lesley Manville impeccable as the quirky botanist that lives with a sloth in the jungle, and Omar Apollo's appearance was short but sweet. All the acting was perfectly framed by the costumes. Particularly a crisp white shirt and pants with surgical precision on Craig, and a sheer pale aqua camp shirt over Starkey. Jonathan Anderson, at this point, it’s almost unfair.

In summary, unprecedented love is one of the worst feelings. And no one knows how to capture that better in film than Guadagnino. Below, we have rounded up some of our favourite Queer Letterboxd reviews. So sit down, listen to Apologies by Sinead O'Connor, grab some tissues or a plumber because this film might make you leak–from your eyes.

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